Steve Hackett continues to tour relentlessly, playing to packed houses of knowledgeable and enthusiastic fans, year after year. Tonight, the venerable Royal Albert Hall was sold out and brimming with anticipation. A couple of tracks in and even the vastly experienced Mr Hackett confessed to the crowd that he’d had a few pre-match nerves. ‘Well, it’s the Royal Albert Hall, innit?’ he uttered in his understated manner.

But you would never have guessed. Hackett and his band were utterly professional and thoroughly compelling across two excellent sets lasting easily 2 ½ hours.

Set 1 comprised highlights from Hackett’s solo material, kicking off with ‘People Of The Smoke’ from his latest album ‘The Circus And The Nightwhale’. Hackett’s guitar immediately cut through, but the vocal harmonising was equally ear-catching. The material on the new album is strong and it was also plundered for ‘Circo Inferno’ carrying a little more growl on the guitar, and the jazz-infused instrumental ‘These Passing Clouds’.

The band brought an ensemble flavour, with musicians disappearing to the wings when not involved directly or stepping back to ensure others took the spotlight at the right moments. Only Hackett, long time accomplice Roger King on keyboards, Jonas Rheingold on bass and Craig Blundell on drums were ever-present on stage.

Photo: David J.Wilson

Rob Townsend played a sax/flute/keys/multi-instrumentalist starring role throughout, Amanda Lehmann brought some lively second guitar and Nad Sylvan took many of the lead vocal duties. The classy line up was augmented by a smattering of special guests throughout the night, which kept everything fresh and interesting.

The first set had plenty of highlights. ‘The Devil’s Cathedral’ shook the old place with its repeating gothic organ motif in amongst haunting vocals and beautiful guitar; ‘Everyday’s parpy opening keyboard bars laid the foundations for a tour de force rendition; and even Rheingold’s ‘Basic Instinct’ bass solo found a warm home amongst the faithful.

Steve’s brother, John Hackett came on to play flute on the gorgeous ‘Hands Of The Priestess’ before ‘Camino Royale’ brought a change of pace with busy and complicated drum rhythms, a thrilling sax solo and a lively melodic solo from Hackett.

‘Shadow Of The Hierophant’, celebrating almost 50 years since appearing on Hackett’s debut solo album in 1975, brought the house to its feet. Amanda Lehmann took a leading role on vocals, bringing a chamber music vibe alongside the harpsichord effects. And Hackett’s guitar contrasting with the vocal passages as the track progressed. Lehmann and Hackett brought some harmonising lead guitar as the extended instrumental passage built waves of intensity, drama and volume towards its climax. Lehmann was grinning from ear-to-ear with every growing power chord next to Hackett hunched studiously over his Gibson.

The venue was suddenly awash and alive with dynamic music. On completion of ‘Shadow…’ , the band were genuinely moved by the standing ovation they received, lasting a good couple of minutes. Hackett had to fight the crowd to announce the interval. Part 2 would need to be very good…

Indeed it was. Billed as ‘Genesis Greats and Lamb Highlights’ this set kicked off with ‘The Lamb Lies Down on Broadway’. It’s insistent bass/keyboard signature riff sent shivers down the spine. Such a good track and privilege to hear this live.

But we were merely on the cusp of the evening’s best moments. For ‘Fly On A Windshield’, Hackett introduced ‘Your friend and mine’, Steve Rothery. As an early Marillion fan I spent a long time rebuffing criticism that the band were simply Genesis clones. And here was Rothery giving ammunition to my tormentors! What a few minutes of bliss these two delivered: trading bars of brilliant lead guitar, by turns subtle, shimmering, screaming and soaring. This reviewer had died and gone to heaven.

Onwards. The treats kept coming. Ray Wilson, the last lead singer to appear on a Genesis studio album, emerged and clambered to the top of the drum riser to deliver the melodic masterclass of ‘Carpet Crawlers’ with vocal flavours laced with rich drawl, gravel and baritone.

Photo: Rich Ward

Nad Sylvan took Wilson’s spot on the drum riser, finding his time to shine with enthusiasm, handling the vocal responsibilities with class. The ‘Lamb’ material sounded fresh and tight. A dramatic moment was delivered with poise when Sylvan sang the line ‘And once again the stage is set for you’ at the end of ‘The Lamia’ and walked away, for Hackett to move forward and crank out another spellbinding solo. Next up, ‘It’ was funky, samba-like in places with shiny brass furnishings.

Moving into the non-‘Lamb’ material, ‘Dancing With The Moonlit Knight’ twisted and turned, grew and burst forth, inspiring some communal singing; followed by ‘The Cinema Show’ as it was originally intended to do on the ‘Selling England By The Pound’ album until the running order was changed.

‘The Aisle of Plenty’ was the last track before the encores and at one point saw the band tackle the instrumental passages in relaxed style sat around on stools or propped up on the keyboard riser.

The band came back for a stellar version of ‘Firth Of Fifth’ with a set-piece solo from Hackett that I’ve heard in some circles described as the best in prog. A mighty statement and maybe not so far fetched on this evidence.

Proceedings were brought to a close by Craig Blundell’s drum solo segueing into ‘Los Endos/Slogans’ and back to ‘Los Endos’ in a joyous, loose, brass-heavy, slightly unhinged party.

This was a well put-together gig on many levels: the strength of the material, the quality of the performance, the warmth of the show, but also Hackett’s ability to re-interpret classic Genesis music with credibility and appeal for a fan-base that just can’t get enough.

Review and photo by Dave Atkinson, except where stated

Featured Artist: JOSH TAERK

Since early 2020 Josh has been entertaining us with exclusive monthly live sessions, streamed via Facebook.

Next session: Sunday 19 January

Check out videos here: https://www.facebook.com/getreadytorockradio

David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast on 1 December 2024.

UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). This show was first broadcast 3 December 2024.

How to Listen Live?

Click the programming image at the top of the page (top right of page if using desktop)

Listen via Windows Media Player. Click or tap here and “open file”
Listen via other media player (eg. VLC) Click or tap here and “open file”

Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.

More information and links at our radio website where you can listen again to shows via the presenter pages: getreadytorockradio.com

Power Plays w/c 9 December 2024

In this sequence we play ‘The Best of 2024′ GRTR! reviewer selections

Featured Albums w/c 9 December 2024

09:00-12:00 The Best of 2024 (Melodic Rock)
12:00-13:00 The Best of 2003-2024 (Melodic Hard Rock)
14:00-16:00 The Best of 2024 (Singer Songwriter)